Titian: His Life

By Sheila Hale

An “excellent” biography of the Renaissance artist, drawing on contemporary accounts and recent art historical research & scholarship (Booklist).

Born in the mountains above Venice in the late fifteenth century, Tiziano Vecellio—or Titian—was the greatest painter of the Venetian High Renaissance. A poetic visionary and a technical master of oils, he painted everything, from frescoes and grand altarpieces to mythological stories and portraits—works described by his contemporaries as “mirrors of nature.”

Sheila Hale’s rich biography is the first since 1877 to examine all contemporary accounts of Titian’s life and work as well as recent art historical scholarship, some of it previously unpublished. Her book charts the extraordinary transformation of Titian’s style: from the radiant, minutely realized masterpieces of his youth, to the more freely painted work of his middle years, to the dark, tragic, sometimes terrifying visions of his old age. Drawing on the latest scientific examinations of his paintings, Hale seeks to explain the evolution of his methods and his art. In doing so, she also gives many different voices—from Titian’s lifetime to today—free reign to explore, praise, and sometimes doubt his genius.

When Titian died in 1576, in his late eighties, he had spent the whole of his working life in Venice—the most celebrated city in Europe—traveling as little as possible despite the clamor for his presence at the great courts of the continent. He had witnessed wars, Ottoman invasions, and the rising Protestant threat to the Catholic Church. He had become the favored painter of both Charles V—the most powerful man in the world—and his son, Philip II of Spain, who became Titian's most important patron.

Sheila Hale’s masterly biography presents Titian through the lens of the turbulent times in which he lived and explores how this innovative sixteenth-century master conveyed in his paintings a kind of truth that few other artists have been able to communicate, which has fascinated Titian’s admirers and followers ever since.

• Language: English
• Publisher: Open Road Integrated Media
• Release date: Nov 20, 2012
• ISBN: 9780062218131

Sheila Hale

Sheila Hale has known and often lived in Venice since 1965 when she began work as a research assistant to John Hale. She is the author of a number of books including The Man Who Lost His Language. She is a trustee of Venice in Peril and lives in Twickenham.

Book preview

Dedication

In memory of John

Epigraph

Titian was the sun amid small stars not only among the Italians but all the painters of the world.

–Giovanni Paolo Lomazzo, Idea del Tempio della Pittura, 1590

A work of art is an act of cooperation, often of reluctant cooperation like an awkward marriage, between the author and the kind of society he lives in. When we know something of the character of this aggravating partner, that which was once stiff and monumental becomes fluid and alive.

–V. S. Pritchett, In My Good Books, 1942

CONTENTS

Dedication

Epigraph

Introduction

A Note on Money

List of Illustrations

Titian’s Family Tree

PART I: 1488/90–1518

ONE - Mountains

TWO - The Most Triumphant City

THREE - The Painter’s Venice

FOUR - Myths of Venice

FIVE - The Fondaco, Giorgione and the Modern Manner

SIX - Miracles and Disasters

SEVEN - ‘Some Little Bit of Fame’

EIGHT - ‘His Industrious Brush’: Pentimenti and Portraits

NINE - Sacred and Profane

PART II: 1518–1530

ONE - Alfonso d’Este, Duke of Ferrara

TWO - Bacchus and Ariadne

THREE - A New Doge, a River of Wine and Marriage

FOUR - The Fall of a World

FIVE - The Triumvirate of Taste

SIX - Caesar in Italy

SEVEN - The Most Beautiful Thing in Italy

PART III: 1530–1542

ONE - The Portrait of Cornelia

TWO - The House in Biri Grande

THREE - The Most Powerful Ruler in the World

FOUR - The Venus of Urbino

FIVE - The Roman Emperors

SIX - The Writers’ Venice

SEVEN - An Old Battle and a New War

EIGHT - Titian in his Fifties

PART IV: 1543–1562

ONE - Aretino Plays Pontius Pilate

TWO - The Last Great Pope of the Renaissance

THREE - A Miracle of Nature

FOUR - Rome

FIVE - A Matter of Religion

SIX - Augsburg

SEVEN - The Prince and the Painter

EIGHT - Venus and Adonis

NINE - The Passing of the Leviathans

TEN - The Diana Poems

ELEVEN - The Rape of Europa

PART V: 1562–1576

ONE - A Factory of Images

TWO - The Spider King

THREE - The Biographer, the Art Dealer and the King’s Annus Horribilis

FOUR - Wars

FIVE - ‘In This my Old Age’

SIX - Another Way of Using Colour

SEVEN - The Plague and the Pity

Titian’s Legacy

Notes

Bibliography

Appendix: Locations of Paintings

Index

Acknowledgements

Inserts

About the Author

Also by Sheila Hale

Copyright

About the Publisher

INTRODUCTION

Any style involves first of all the artist’s connection to his or her own time, or historical period, society, and antecedents: the aesthetic work, for all its irreducible individuality, is nevertheless a part – or, paradoxically, not a part – of the era in which it was produced and appeared.

EDWARD S. SAID, ON LATE STYLE, 2006

Titian lived and painted in tremendous times. In the decades before he was born, in a remote province of the Venetian Empire, the invention of movable type in Germany had unleashed an unprecedented and unstoppable spread of ideas and information across Europe and beyond. Columbus’ maiden voyage from Spain to the new world in 1492, when Titian was a small child, changed the European consciousness of the size and shape of the planet; and the bullion imported from the Americas brought with it massive inflation and eventually shifted the balance of trade and wealth from the Mediterranean to the Atlantic. In 1513, when Machiavelli published The Prince, the first modern work of political philosophy, Michelangelo had recently completed the ceiling of the Sistine Chapel, Raphael was at work on the four Stanze in the Vatican, and Leonardo da Vinci was an old man living in Rome. Four years later in the German town of Wittenberg Martin Luther, reacting against the sale of indulgences by Pope Leo X, posted his Ninety-Five Theses on the castle door. Few at the time predicted the consequences. Luther himself had not envisaged a split with the Catholic Church, and the word Protestant was not used until 1529. But by 1563 when Titian was in his early seventies and the Council of Trent sat for the last of the three sittings that set the agenda for the Catholic Reformation, northern Europe was irredeemably divided between Catholics and Protestants; and Venice, which had been the most independent of all the Italian city states and the least prescriptive about matters of religion, began to pay heed to the dictates of the Roman Catholic Church.

When Titian died in Venice in 1576 he was in his late eighties, and the Most Serene Republic had begun its long slow decline as a great trading power and artistic centre. He had spent the whole of his working life there, travelling as little as possible and only twice outside the Italian peninsula for two short visits to Germany. He had produced some 500 or 600 paintings of which about half survive.¹ They are now scattered around the globe, most of them in public galleries from New York to California and Brazil; and across Europe from St Petersburg to Vienna, Berlin, Florence, London and Madrid, to mention only the largest collections. Despite frequent temporary exhibitions of his pictures it would be difficult for any one person to see all the originals and follow the extraordinary transformation of Titian’s style from the radiant, minutely realized masterpieces of his youth to the more freely painted works of his middle years, to the dark, tragic, sometimes terrifying visions of his last years.

More has been written about Titian than about any other Renaissance artist apart from Michelangelo. There were two biographies of him in his own lifetime: the Venetian writer Lodovico Dolce’s L’Aretino published in 1557 and Giorgio Vasari’s ‘Life of Titian’ in the second, 1568, edition of his Lives of the Artists; two more in the next century by an anonymous writer who may have been a distant relative (1622) and by Carlo Ridolfi in his Marvels of Art (1648), as well as numerous letters written to, by and about him. Over successive centuries writers and artists have explored and described his paintings and the spell they cast. This book, however, is the first documented attempt since the pioneering Anglo-Italian art historians J. A. Crowe and G. B. Cavalcaselle published their Titian: His Life and Times as long ago as 1877² to chart Titian’s stylistic development through the story of his life and of the century in which he became the most famous artist in Europe, painter to its most powerful rulers.

Since Crowe and Cavalcaselle, art history has been taught in schools and universities as a specialized subject, and Titian Studies have become something of an academic industry. Archives in Venice and elsewhere have yielded much more evidence than was available in the nineteenth century, so that we now know more about Titian’s personality, family, friends, finances and relationships with his patrons than we do about most other Renaissance artists. Modern scientific techniques, furthermore, have enabled painting conservators to follow Titian’s working methods by looking beneath the surface of his paintings.³ Nevertheless, since no one person can do justice to an artist as great, protean and complex as Titian, I have allowed some of the many voices that have explored, praised – and very occasionally doubted – his genius to have their say.

I have tried where possible to correct errors of fact about Titian that have been repeated so often that they’ve become almost canonical. There are, however, still blanks in our knowledge. Perhaps some will be filled as new evidence and paintings thought to have been lost are discovered. Nothing, however, will diminish the sheer visceral pleasure, the shock of recognition that we are looking at a kind of truth that few other painters have communicated, that has fascinated Titian’s admirers and followers for more than five centuries.

A NOTE ON MONEY

Most European currencies after Charlemagne’s reform of the monetary system were accounted in pounds, shillings and pence: £ s d, or 1 lira = 20 soldi = 240 denari, like the British pound sterling before it was decimalized in 1971. Every country, and every one of the numerous Italian states, used its own silver-based coins for everyday transactions such as buying food or paying wages. Different countries also issued gold coins, which were the currency of international trade and were used for reckoning wealth on paper. During Titian’s lifetime the Venetian gold ducat and the Spanish gold scudo were of equal value, each worth six lire and four soldi.

It is not possible to give modern equivalents of purchasing power in the sixteenth century for reasons that may be apparent from the following examples. A standard tip given by grandees for small services was one ducat, which was approximately the weekly wage of a master carpenter, but in the 1530s could buy twenty-eight chickens, ten geese or fifty kilos of flour. A university professor earned something between 100 and 140 ducats a year, a senior civil servant about 250. A Venetian with an income of 1,000 ducats would have been considered prosperous.

LIST OF ILLUSTRATIONS

Jacopo de’Barbari: Bird’s-eye view of Venice from the south © The Trustees of the British Museum

Madonna della Misericordia, Galleria Palatina, Palazzo Pitti, Florence © The Bridgeman Art Library

Plate sections

Tribute Money, Gemäldegalerie Alte Meister, Dresden © Staatliche Kunstsammlungen, Dresden/The Bridgeman Art Library

Gypsy Madonna, Kunsthistorisches Museum, Vienna © Artothek/The Bridgeman Art Library

Man with a Blue Sleeve, The National Gallery, London © The Bridgeman Art Library

Miracle of the Speaking Babe, Scuola del Santo, Padua © The Bridgeman Art Library

Flora, Galleria degli Uffizi, Florence © The Bridgeman Art Library

Pesaro Altarpiece, Santa Maria Gloriosa dei Frari, Venice  © Cameraphoto Arte Venezia/The Bridgeman Art Library

Three Ages of Man, Edinburgh, Scottish National Gallery (Bridgewater Loan, 1945)

Sacred and Profane Love, Galleria Borghese, Rome © Giraudon/The Bridgeman Art Library

Assumption of the Virgin, Venice, Church of Santa Maria Gloriosa dei Frari © Universal Images Group/Photoservice Electa/Getty Images

Noli me tangere © The National Gallery, London/akg-images

Portrait of Federico Gonzaga, Prado, Madrid © The Bridgeman Art Library

Man with a Glove, Louvre, Paris © The Bridgeman Art Library

Presentation of the Virgin, Gallerie dell’ Accademia, Venice © Cameraphoto Arte Venezia/The Bridgeman Art Library

Ranuccio Farnese, The National Gallery of Art, Washington, Samuel H. Kress Collection (1952.2.11). Image courtesy of The National Gallery of Art, Washington DC

Pope Paul III, Museo e Gallerie Nazionale di Capodimonte, Naples © Alinari/The Bridgeman Art Library

Pietro Aretino, Palazzo Pitti, Florence © The Bridgeman Art Library

Equestrian Portrait of Charles V at Muehlberg, 1548. Madrid, Prado © 2012. Photo Scala, Florence

Portrait of Prince Philip, Prado, Madrid © The Bridgeman Art Library

Rape of Europa © Isabella Stewart Gardner Museum, Boston © The Bridgeman Art Library

Entombment, Prado, Madrid © Giraudon/The Bridgeman Art Library

Diana and Actaeon © The National Gallery, London/akg-images

Diana and Callisto. Purchased jointly by the National Galleries of Scotland and the National Gallery, London, with contributions from the National Lottery through the Heritage Lottery Fund, the Art Fund, The Monument Trust and through private appeal and bequests, 2012

Danaë receiving the Shower of Gold, Prado, Madrid © Bridgeman Art Library

Reclining Venus, Lutenist, Fitzwilliam Museum, University of Cambridge © The Bridgeman Art Library

Wisdom, Biblioteca Marciana, Venice © The Bridgeman Art Library

Portrait of Jacopo Strada, Kunsthistorisches Museum, Vienna © 2012. Photo Austrian Archives/Scala, Florence

St Sebastian, St. Petersburg, Hermitage Museum © 2012. Photo Scala, Florence

Death of Actaeon, National Gallery, London © The Bridgeman Art Library

Flaying of Marsyas, Archbishop’s Gallery, Kromeritz, Czech Republic © Mondadori Electa/The Bridgeman Art Library

Crowning with Thorns, Alte Pinakothek, Munich © Giraudon/The Bridgeman Art Library

St Jerome in Penitence, Monasterio de El Escorial, Spain © The Bridgeman Art Library

Pietà, Galleria dell’Accademia, Venice © The Bridgeman Art Library

Self-Portrait, Madrid © Imagno/Austrian Archives/Getty Images

PART I

1488/90–1518

Titian may be said to have remodelled the language of painting, just as Dante established the language of Italy; there remains also the richness of emotion which expresses the man behind the work.

CHARLES RICKETTS, TITIAN, 1910

ONE

Mountains

Might not this ‘mountain man’ have been something of a ‘canny Scot’ or a ‘shrewd Swiss’?

JOSIAH GILBERT, TITIAN’S COUNTRY, 1869

On a clear day in Venice when the wind blows the mist from the lagoon, you can see the distant mountains 110 kilometres to the north where Titian Vecellio was born into a large and locally prominent family in the little township of Pieve di Cadore, close to the border with Habsburg Germany. It was remote, sparsely populated country whose inhabitants were necessarily tough, hard working and used to rationing and penny-pinching. In summer and autumn there was plenty of milk, cheese, butter and fruit from the lush pastures and orchards. But the thin mountain soil did not produce enough grain to last through the long winters, when supplies had to be hauled up through snow-covered valleys on sleds drawn by horses either from Germany or from the fertile Venetian plain. The communal grain stores were closely supervised by the local authorities, who controlled prices for the poor.

A loyal outpost of the Venetian land empire since 1420, the region of Cadore was divided for administrative purposes into centurie or ‘centuries’. And the location of Pieve, where an escarpment rises sharply above the then navigable River Piave, was important to Venice as a control point for one of the trading routes between its overseas dominions in the Levant and transalpine Europe. Convoys of pack animals and carts drawn by oxen or horses, one behind to act as a break when descending steep hills, criss-crossed the surrounding valleys. Merchants from the Habsburg Empire, the German kingdoms, Poland, Hungary and Bohemia carried silver, gold, copper, iron, sheets of tin, metal products, hides, worked leather, furs, coarse cloth and minerals to Venice, where the German exchange house, the Fondaco dei Tedeschi, ‘would by itself’, so it seemed to one Jerusalem pilgrim in Venice at the turn of the fifteenth century, ‘suffice to supply all Italy with the goods that come and go’.¹ Produce from the north was traded at the Fondaco for luxury goods made in Venice – glass and mirrors from Murano, refined soaps, richly worked and dyed silks and satins – or imported into Venice from the Levant: preserved fruits, molasses, wine and olive oil; seed pearls, ivory; and the products known as spices, a term that covered a wide range of goods from peacock feathers, fine-spun Egyptian cottons and the ingredients of pigments used by artists and dyers to flavourings (cardamom, cinnamon, ginger, pepper, saffron, frankincense, myrrh) that were also essentials as the bases of the only drugs available in Renaissance Europe.

Timber and to a lesser extent iron mining were the principal local industries. Wood in this densely forested area was a precious export commodity, not to be wasted unnecessarily on domestic fires. Venice depended for its very survival on a steady and copious supply of wood from its hinterland, which was imported in vast quantities for building and fitting out the war and trading galleys; for the small boats that plied its waterways; for dykes, palisades and the pilings on which the foundations of its buildings rested; for stoking industrial furnaces and for the unusually numerous domestic fires. Venetians, as we can see from the multitude of conical chimneys in contemporary paintings, liked to keep their houses warmer than those in other northern cities.

Timber was in Titian’s blood. He inherited ancestral sawmills near Perarolo, where the River Boite joins the Piave, and later in life ran a timber business in partnership with his brother Francesco and his son Orazio. Rough-cut trunks of larch, red and white fir, beech, birch and alder from the forests of Cadore were floated downriver to Perarolo. Here they were sorted, milled, lashed together as rafts, sometimes loaded with iron ore, wool and hides, and transported downriver to Venice where they were parked along the Zattere – the ‘rafts’ as the quays along the Giudecca Canal are still called – before the wood was sent on for unloading and storage in the timber yard on the northern lagoon, next to the church of San Francesco della Vigna, which the Venetian government, in recognition of the importance of its wood, had granted to Cadore in 1420. It was a privilege that would cause Titian to fall out with the local government later in his life. Cadore supplied Venice with wood into the early twentieth century; and even today you can occasionally hear the buzz of saws in Cadore, in the Parco Rocciolo – the park of rough-cut timber – at the base of the castle hill, just above a little piazza, then as now called Piazza Arsenale after an antique arsenal.

Titian was born in this piazza, probably some time between 1488 and 1490 in a house facing a spectacularly jagged fringe of mountains known as the Marmarole, and he spent his early childhood here with his father Gregorio Vecellio, his mother Lucia and their three younger children: Dorotea, born around 1490, Francesco, born not long after 1490,² and Orsa, the youngest born around 1500. A modest cottage of a kind that has now mostly disappeared, it was rediscovered behind a later extension in the early nineteenth century by scholar detectives who identified it from its description in a sale document of 1580.³ The ground floor, now a little museum, was originally used for storage and in winter for stabling farm animals, whose bodies acted as under-floor heating for the rooms above. The living space on the first floor consists of four small rooms including a kitchen with a flagstone floor and a stove for cooking and heating which would have been kept lit at all times. The other three rooms are wooden boxes, entirely lined with pine for insulation – some of the original ceiling panels cut from giant pine trees are as much as one and a half metres wide. All the windows are small, and the only staircase is external to save space indoors and to act as a fire escape.

Surrounded by dense forests, and guardian to one of the gateways into Italy, the province of Cadore was inevitably subject to frequent fires and to skirmishes with the German and Turkish armies that threatened the borders of the Venetian state. It must have been during one of the sieges by the Habsburg emperor Maximilian I in the years between 1508 and 1513 that the parish register of births, baptisms, marriages and deaths was lost, leaving posterity with no certain evidence of the date of birth of Titian, his siblings or indeed anyone else born in Cadore in the previous decades. Titian scholars have been searching without success for this book for at least two centuries. Unfortunately, since Titian in his later life exaggerated, or perhaps forgot, his age, it is unlikely that we will ever have certain evidence of his exact date of birth. Like many people at the time Titian may not have known or cared exactly when he had been born (neither did Giovanni Bellini or Giorgione, or if they did they left no record of their ages). It would have suited him to exaggerate his age when he was a young artist seeking work in Venice, and again later in life when extreme old age was a rare achievement that commanded great respect. His two earliest biographers, Lodovico Dolce and Giorgio Vasari, both of whom knew him personally, imply that he was born in the late 1480s, and something between 1488 and 1490 is the date that is now, after long and heated controversy, accepted by most authorities. However, his seventeenth-century biographers – an anonymous writer commissioned by a distant relative of Titian⁴ and Carlo Ridolfi – gave 1477, a date which, like so much misinformation about Titian’s life, remains to this day in some of the literature.⁵

Apart from the dramatic mountain scenery and the house where he was born, there isn’t much left of Titian’s Cadore. The parish church of Santa Maria Nascente where he hoped to be buried and for which he designed a set of frescos towards the end of his life was torn down in 1813 when remains of the old castle were used to build the bulky neo-Renaissance replacement you see today. The life-sized bronze statue of Titian in the main square, Piazza Tiziano, was erected in the late nineteenth century after Pieve had become part of the newly united Italy. He glares down from his pedestal displaying the gold chain presented to him by the emperor as the insignia of his knighthood, the cap that probably concealed a bald spot⁶ and the fiercely down-turned mouth,⁷ and wielding palette and brushes like a protective shield against inquisitive posterity. He looks about fifty, still lean and tough, although one can imagine that the rough mountain edges of his voice and manners have been smoothed away. Titian by this time has painted most people of consequence in the Europe of his day. He has a kind of Olympian wisdom, a detached view of the world unencumbered by any particular political or religious agenda (unlike his hero and rival Michelangelo) and a profound understanding of people and how they work. He is regarded almost as a demi-god, an Atlantis, or a reincarnation of Apelles, painter to Alexander the Great. It’s hard to imagine him smiling, but on the rare occasions when he does turn up the corners of his mouth it must seem like a gift to the men, and of course the women, he charms with his wit and his self-assured good manners.

If the emperor Charles V really did pick up Titian’s paintbrush as Ridolfi tells us,⁸ perhaps he was being rewarded for one of those smiles. Both of his contemporary biographers described his charm. ‘In the first place,’ says Dolce:

he is extremely modest; he never assesses any painter critically, and willingly discusses in respectful terms anyone who has merit. And then again he is a very fine conversationalist, with powers of intellect and judgement that are quite perfect in all contingencies, and a pleasant and gentle nature. He is affable and copiously endowed with an extreme courtesy of behaviour. And the man who talks to him once is bound to fall in love with him for ever and always.

But elsewhere Dolce uses the verb giostrare, to joust, to indicate a competitive streak. Vasari, who as a Tuscan had reservations about the Venetian way of painting, described him as ‘courteous, with very good manners and the most pleasant personality and behaviour’, an artist who had surpassed his rivals ‘thanks both to the quality of his art and to his ability to get on with gentlemen and make himself agreeable to them’. An anonymous biographer writing in the seventeenth century described him as of a pleasing appearance, circumspect and sagacious in business, with an uncorrupted faith in God, loyal to the Most Serene Republic (a courtesy title given to other European states but most often to Venice, which was widely known as La Serenissima in its strongest period) and especially to his homeland of Cadore. He is candid, open-hearted, generous and an excellent conversationalist. ‘Titian’, wrote his other posthumous biographer Carlo Ridolfi, echoing Vasari, ‘had courtly manners … by frequenting the courts, he learned every courtly habit … People used to say that the talent he possessed was a particular gift from Heaven, but he never exulted in it.’ Yet Ridolfi gives us a hint of rough edges to the polished surface of his subject’s character. Titian, he tells us, was dismissive of lesser talents, and the highest praise he could bestow on a painting he admired was that it seemed to be by his own hand. What none of his early biographers mention is the lifelong loyalty and devotion to friends and family, the capacity for enjoying himself in company or the dry sense of humour, which must have been one of the qualities that made him such agreeable company. None of them – perhaps because they were all, apart from Vasari, themselves Venetians – says how typically Venetian he was: good humoured, thrifty to the point of stinginess, sweet-tempered but manipulative when necessary for his own ends, and very much his own man.

If you spend a day or two in Cadore you will see Titian’s features again: the long bony face, the slightly hooked nose, the fierce gaze. Natives of Cadore are the first to tell you that they look like Titian, and a surprising number bear the name Vecellio – there is a trend in small isolated communities for surnames carried on the male line to increase over centuries. By the time Titian was born, the Vecellio were already one of the largest and most distinguished old families in Cadore. Vasari described the family as ‘one of the most noble’, a word that was used in the annals of the Vecellio, although no member of the family was of the patrician class and none before Titian himself actually received an imperial title. But his upbringing as a member of a prominent family proud of its long lineage and history of public service might go some way towards explaining the social confidence and the ease with which he acquired those pleasing manners, which were unusual if not unique for an artist at that time.

The Vecellio of Cadore can be traced back to the second half of the thirteenth century. Most were notaries who occupied important positions in the local government. To qualify as a notary it was necessary to be nominated by a count palatine, a man given that title by the emperor, then to satisfy the local authorities, many of whom were also notaries, of competence by delivering before them an eloquent dissertation in Latin in the style of the great Roman advocate Cicero. Notaries were therefore by definition reasonably well connected and educated men. In remote communities like Cadore they fulfilled the roles of attorney, accountant and broker. Their signatures on wills, inventories, powers of attorney, dowry agreements and sales of property gave such documents, theoretically at least, international validity. One of them, a certain Bartolomeo, was also a timber merchant who owned sawmills at Perarolo that Titian would later inherit. Titian’s grandfather, known as Conte and one of the most remarkable of the Vecellio clan, must have made a strong impression on the young Titian. He was a shrewd businessman who knew how to manipulate the price of imported grain and a forceful diplomat who on one occasion managed to persuade the Venetian government to lift from Cadore a punitive tax imposed on outlying regions to finance a war against the Turks. From 1458 until his death around 1513 at what must have been a very advanced age he served the local administration as court auditor nineteen times, and often as delegate to Venice. As well as these and other high public and military offices he led the local militia in skirmishes on the north-east borders of the Venetian Republic, as captain against the Turks and as commander in chief in a war between Venice and Austria.

Conte owned a group of properties in Piazza Arsenale, including the house where Titian was born, which he either gave or loaned to Titian’s father Gregorio. Although one of Conte’s least successful sons,⁹ Gregorio seems to have been a nice man whose ‘goodness of soul did not yield to a sublime intellect’, as a relative put it long after his death.¹⁰ Unlike most of the family he did not qualify as a notary, and his municipal jobs – overseer of the corn stores, councillor, superintendent of the castle repairs, inspector of mines (the latter appointment given him by the doge of Venice as a favour to Titian) – were honourable but minor positions. But as captain of the militia of Pieve he fought bravely in the Battle of Cadore in 1508, and it was as a soldier in armour that Titian painted his portrait (Milan, Ambrosiana) shortly before his death. Virtually nothing is known about Titian’s mother Lucia, aptly named, according to an oration given long after her death by a Vecellio relative, because as the mother of Titian and his brother Francesco she cast a radiant light (luce) on herself and her homeland. It has been suggested, without the slightest documentary foundation, that she was a servant from Cortina d’Ampezzo, and the model for the old egg-seller who sits on the steps in Titian’s Presentation of the Virgin and/or for the Old Woman attributed to Giorgione (both Venice, Accademia).

Conte’s generosity extended to his grandchildren. He provided Dorotea with a handsome dowry on her marriage to Matteo Soldani, a notary, in 1508. We know the details of Dorotea’s marriage settlement from a rare document that survives from 1539, by which time Dorotea was widowed and there was a claim against the estate of her late husband. Two-thirds of the value of dowries were by law required to be returned to wives after the death of their husbands. But the notarized evaluation of Dorotea’s dowry had been lost during one of Maximilian’s invasions. Titian, fearing that without evidence of its value, on which his sister depended for her living, it might be considered part of the contested estate, arranged for three witnesses who had been present on the day of Dorotea’s marriage to testify before a notary. The document opens a precious window on the domestic life of the Vecellio. The witnesses agreed that the dowry was worth between 700 and 800 lire. One of them, who identified himself as a nephew of Vendramin Soldani, a parish priest and archdeacon with whom Matteo Soldani had been living before his marriage, visited Conte’s house on the day of the wedding. He described the scene.

I saw many moveable furnishings, a bed, blankets, many sheets, clothing of all sorts as well as other requirements of a woman, which seemed to me a very fine dowry.

Later that evening I asked my uncle what he thought it was worth. He replied that it was certainly a beautiful dowry, worth more than 700 lire, more than you would have thought … I’m sure there was a notary taking notes, but I don’t remember who he was. When I saw the things being evaluated there were only the two old men present, that is the priest messer Vendramin and ser Conte, as well as the notary whose name I don’t recall. It’s true that I also saw ser Gregorio, the son of ser Conte and father of the bride, who was walking back and forth, up and down, but he never stood still.¹¹

Gregorio was evidently restless, as any father might be on his daughter’s wedding day. But the fact that it was Conte who was presiding over the evaluation of the dowry is one of the clues that suggest that he was the head of the family. Was he, as Titian would be, an overbearing father capable of crushing the spirits of his weaker sons?

Two of Titian’s biographers¹² tell us that he was educated under his father’s roof. Ridolfi wrote that he attended a local school for well-born boys, in which case he didn’t profit much from it because Ridolfi also said that Titian ‘was not well versed in literature’. Titian’s sister Dorotea was illiterate, and so in all likelihood were Orsa and their mother. Judging from his few extant autograph letters and from other documents written in his hand Titian was not more than adequately literate, about average for an artist at that time. A nineteenth-century scholar, after examining one of Titian’s receipts for payment, commented that the grammar and syntax of the artist who handled a paintbrush like a god was more like that of a man who was less than a boy.¹³ Nevertheless, although most of his mature correspondence would be composed and penned by friends and secretaries, he was more than literate and numerate enough to manage his own and his family’s business affairs with dedication and acumen. And his handwriting, although he rarely used it, was confident, steady and legible.

Although everyone heard the mass in Latin, it was not formally taught to boys under the age of ten or twelve, the age at which Titian, like most artists, began his apprenticeship. Later in life Titian picked up a smattering of what Ben Jonson, referring to Shakespeare’s lack of formal education, called ‘small Latin and less Greek’. He gave his sons the classical names Pomponio and Orazio, and in the 1530s favoured the Latin spelling Titianus for his signatures – everyone from popes, princes and noblemen down to town councillors and soldiers liked to see their names in Latin. But the assertion, usually made by scholars who have themselves enjoyed a classical education, that Titian must have read the original texts of the Latin or Greek stories he immortalized in paint fails to take account of the way artists actually worked. No Renaissance artist, with the exception of Andrea Mantegna, was able to read or write Latin. Leonardo da Vinci (who also came from a family of provincial notaries) tried to learn Latin as an adult but without success, as did Isabella d’Este, who was one of the great Renaissance patrons of artists and a collector of classical manuscripts. Mythological imagery was disseminated not by texts but by artists inspired by the antique sculptures that were being unearthed from Italian soil, and from the translations of classical texts that were increasingly available in print from the late fifteenth century. When Dolce dedicated to Titian a volume of classical texts he had translated into Italian, he wrote in the preface that he had done so because Titian would not have been able to understand the originals.¹⁴

Titian’s earliest visual education was limited to the art he saw in the churches and public buildings of Cadore: fourteenth- and fifteenth-century frescos and crude Alpine altarpieces by the German artist Hans Klocker – there were two paintings by Klocker in the parish church of Pieve – and by Gian Francesco da Tolmezzo. Antonio Rosso, whose few surviving paintings¹⁵ look like uncertain attempts to combine fifteenth-century northern European and Venetian influences, was born around 1440 in Tai, a village only a few kilometres from Pieve. He painted altarpieces in and around Pieve, where a street is named after him today. Scholars in the eighteenth and early nineteenth centuries liked to imagine that it must have been Rosso who spotted and nurtured the young Titian’s talent. If so, there is nothing in what little we know about Rosso’s style that looks like Titian’s early paintings.

How then did it come about that a half-educated boy from an isolated mountain community, born into a family of notaries, soldiers and public servants with no time or inclination, as far as we know, for artistic pursuits, was sent to Venice to study painting? Within fifty years of Titian’s death an answer to this question was provided by the anonymous biographer who had evidently visited Cadore and may have been repeating a family tradition: the boy had astounded everyone by painting an image of the Madonna on a wall using as his colours the nectar of flowers. The tale of the untutored child artist who demonstrates God-given skill has roots that go back at least as far as classical antiquity. The most famous example is Vasari’s account of Cimabue’s discovery of Giotto drawing sheep on a rock. Vasari applied the same story to the childhoods of Pordenone, Beccafumi, Andrea Sansovino and Andrea del Castagno. Ridolfi credited Giorgione and Tintoretto as well as Titian with the same precocity. The legend was later applied to Poussin, Zurbarán, Goya and the self-trained eighteenth-century Japanese artist Okyo Maruyama.¹⁶ The story about Titian was later taken seriously enough for some earnest believers to imagine that a damaged fresco, painted some time in the sixteenth century on the wall of a villa behind Titian’s family cottage, might have been his very first essay.

Like all persistently recurring fables the one about artistic genius as a birthright works on a number of levels. It fills vacuums in our knowledge. It satisfies a psychological need to believe that the achievements of remarkable men and women are predetermined, whether by divine right, fate or genetic predisposition. The legend of Titian’s precocious Madonna is persuasive because children, after all, do draw on walls. A child deprived of coloured pencils or paints might well try to squeeze colour from flowers. Genius, even at a very early age, often has an urgent need to express itself, and Titian may well have shown enough talent for his family to make the unusual decision to send him to Venice, as the anonymous biographer tells us, ‘so that he could learn from some skilled master the true principles and bring to perfection the disposition he had demonstrated to practise the noble calling [of painting]’.

Titian set off for Venice shortly before the end of the fifteenth century, possibly with Francesco or joined by him soon after. The journey – now a matter of two hours at most by road or railway, both of which span the deepest valleys – took several days. Although the route was well travelled the beaten tracks were often churned up by heavy rain or the gun carriages of armies. Titian’s contemporaries – not least the peripatetic Erasmus of Rotterdam, ‘citizen of the world … stranger to all’ – sometimes groaned about the discomforts of travelling anywhere in Europe at a time when the choice was between riding a horse or mule or having one’s bones shaken in a carriage with no springs for long distances over uneven ground.

Nevertheless, the journey to and from Cadore was one Titian would make over and over again throughout his life. He was not the only great Renaissance artist to emerge from a remote rural background, but no others remained as attached to their homeland as Titian. Cadore and his extended family remained the two constants of his personal life. Il Cadorino, as he is still often called in Italy, would sign paintings, letters and receipts for payments ‘Titianus di Cador’ or ‘Titianus Cadorinus’. He would marry a girl from Perarolo, where the family timber business had started. When, in the 1520s, he repainted the landscape of Giovanni Bellini’s Feast of the Gods he ‘signed’ it with an escarpment that looms over the composition just as the castle hill of Pieve dominated his native town.

He never really identified as much with Venice and rarely set his paintings in the city apart from a now lost history painting for the doge’s palace. But two haunting views of the distant skyline survive. In the first, completed in 1520 for a merchant in Ancona and often known as the Gozzi altarpiece (Ancona, Museo Civico), Venice is silhouetted at sunset against a gilded sky from which the Ascending Virgin looks tenderly down on her specially favoured city. Three years later he painted the fresco that still survives in the doge’s palace of the gigantic figure of St Christopher, patron saint of travellers, who wades through the lagoon with the Christ child on his shoulders, towering over a ghostly view of the bell tower and domes of San Marco and the doge’s palace with the craggy mountains of Titian’s homeland in the far distance.

Even in the most demanding times when he was behind with fulfilling important commissions, he escaped to Cadore for a holiday or on family business. The house in Venice on the north-east lagoon where he lived the last forty-five years of his life commanded a view of his mountains and was always full of members of his extended family. He adapted one of the greatest and best known of his last paintings, the autobiographical Pietà (Venice, Accademia), to fit the high altar of the parish church of Pieve,¹⁷ where the chapel dedicated to his patron saint, San Tiziano, had been financed by his great-great-grandfather, and where he would have been buried had circumstances at the time of his death been different. Titian would so often repeat the journey he first made as a boy of ten or twelve that he could relive it with eyes closed, recalling every twist and turn of the road, every valley and vista of the Venetian plain to the south and the mountains of his homeland to the north rinsed in the azurite distance, every farmhouse, copse of trees, cluster of wild flowers. A nineteenth-century traveller in what he called ‘Titian’s Country’¹⁸ counted 400 different species of indigenous flora in his paintings. Scholars today are at loggerheads about whether or not Titian stopped to sketch as he travelled. If so, very few of his undisputed drawings survive.

He travelled down the Piave Valley to Perarolo, the last place before Venice where you can see majestic Antelao and the two peaks of the Pelmo, the other presiding mountain of his Dolomites, which they call the Throne of God or the Doge’s Hat. The locals say the mountains turn red at sunrise and sunset and blue – as Titian painted them – after a storm. Through the pass at Longarone, so narrow that it could not be negotiated by carts or carriages; then a few miles east to the lakes and the gorge that leads to the gentle Cenedese Hills, the ‘footstool of the Alps’,¹⁹ where the less hospitable Dolomites finally give way to the soft, lush landscape of the Venetian lowlands. It was here that the boy Titian had his first sight of the Venetian plain with the Euganean Hills above Padua to the west and the Piave, now in the far distance, snaking its way towards the lagoon. The party would have stopped to feed and water the animals and spend their last night at Serravalle, then a staging post for travellers and merchant convoys on their way to and from Venice, now united with its neighbouring town Ceneda and renamed Vittorio Veneto. Many years later Titian would become attached to this area by numerous family links. He would build himself a holiday villa in the Cenedese Hills, paint an altarpiece in the church of Serravalle and marry a daughter to a gentleman farmer whose handsome house still stands there. Then on down to the lagoon by way of Conegliano and Treviso, birthplace of the first painter who would take him as an apprentice in Venice, through fields planted with vines, mulberries and Indian corn, past jutting rocks, wooded glades, flashing streams, grazing sheep, castellated farm buildings and the bell towers of small parish churches sounding the hours.

Titian mastered the art of painting landscapes early in his career, before he was entirely confident with the human figures he placed in them. But his landscapes are not so much literal views as accumulations of the features and contours of the countryside he knew so well; they record the pleasure of seeing a landscape modelled by light and shadow.²⁰ Stimulated by Flemish and German examples,²¹ by his first Venetian rival Giorgione of Castelfranco, by the pastoral literature being published in Venice when he was still an apprentice, and perhaps by Leonardo, whose notes are full of discussions about landscape painting, he conjured out of the Cenedese Hills an Arcadia inhabited by Madonnas and saints, lovers and pagan deities, where fleeting shafts of golden light on green meadows, shadows cast by passing clouds and trees tossing in the wind act like choruses, setting the mood and enhancing the drama. Titian’s brush describes the weather, forecasting how it will change as the day goes on and his models, sumptuously dressed in silks and satins, the ultramarine of the Madonna’s cloaks echoed by azure mountains and skies, have moved on to another place.

In the Holy Family with a Shepherd (London, National Gallery), and more obviously in the later Three Ages of Man (Edinburgh, National Gallery of Scotland), the sun rises above the plain where the Piave winds downstream towards the lagoon in the far distance. In remoter parts of the Veneto there are still clusters of homely farm buildings very like those Titian liked to incorporate in his landscapes, often reusing the same group of buildings for different paintings. Those in the background of Tobias and the Angel Raphael are the same as the buildings in the Baptism of Christ (Rome, Pinacoteca Capitolina) and similar to those in his woodcuts of the Triumph of Christ and Submersion of Pharaoh’s Army in the Red Sea. The buildings in the Sleeping Nude in a Landscape (Dresden, Gemäldegalerie) reappear in the Noli me tangere (London, National Gallery) which Titian set on a plateau overlooking the plain. The two landscapes in Sacred and Profane Love (Rome, Galleria Borghese) evoke the same place in the golden light of sunset with the same buildings in reverse order, looking north, back towards the lakes and Alpine foothills above Serravalle and Ceneda.²²

Titian’s landscapes inspired a succession of artists from Poussin and Rubens to Constable and Turner, as well as writers trying to explain or capture their magic in words. Constable, who sometimes improved his compositions by borrowing Titian’s trees, saw ‘the representative of nature’ in every touch of his landscapes. The Milanese painter and writer Giovanni Paolo Lomazzo wrote that Titian, so loved by the world, was hated by jealous nature.²³ Ridolfi began his biography of Titian with praise for his ‘conquest’ of nature,

who had before considered herself insuperable, was now conquered and gave in to this man, receiving laws from his industrious brush, with the appearance of new forms in his work that rendered the flowers more beautiful, the meadows more brilliant, the plants more delightful, the birds more charming, the animals more pleasing, and man more noble.

The concept of great art as triumphant over nature was a borrowing from Vasari, who had in turn borrowed it from Aristotle, and was one of the commonplaces of Renaissance critical theory. We may have more sympathy with the early nineteenth-century essayist William Hazlitt who used the word ‘gusto’ to evoke a quality of Titian’s landscapes that impressed him: ‘a rich taste of colour is left upon the eye, as if it were the palate, and the diapason of picturesque harmony is felt to overflowing. Oh Titian and Nature! Which of you copied the other?’ And he added: ‘We are ashamed of this description, now that we have made it, and heartily wish somebody would make a better.’²⁴

Perhaps the most successful translation of Titian’s painted landscapes into words was written in the early 1540s by his closest friend and most sensitive critic, the writer, journalist and failed painter Pietro Aretino, in a letter about a visit he had recently made to an idyllic countryside. Although the place he had visited was actually Lake Garda, the landscape he described could, as Aretino knew better than anyone, have been painted only by Titian, the greatest master of the alchemical art of transforming real, raw nature into high art. Aretino painted in words the abundance of flowers, the trees, songthrushes escaping from their branches ‘to fill the sky with harmony’, racing rabbits, a church, a wine press, the ring of a lake ‘fit to be worn on the right hand of the world … I walked for miles, but my feet didn’t move, behind hares and hounds, around clumps of mistletoe and netted partridges. Meanwhile I thought I saw something that I might have, but did not, fear: beyond the dense undulating mountains, and hills full of game, were a hundred pairs of spirits obedient to the power and magic of art.’²⁵

TWO

The Most Triumphant City

The city is about 7 miles in circumference; it has no surrounding walls, no gates which are locked at night, no sentry keeping watch as other cities have for fear of enemies; it is so very safe at present, that no one can attack or frighten it. As another writer has said its name has achieved such dignity and renown that it is fair to say Venice merits the title ‘Pillar of Italy’, ‘deservedly it may be called the bosom of all Christendom’. For it takes pride of place before all others, if I may say so, in prudence, fortitude, magnificence, benignity and clemency; everyone throughout the world testifies to this. To conclude, this city was built more by divine than human will.

MARIN SANUDO, THE CITY OF VENICE, 1493–1530¹

Great men built Rome, but Venice was built by gods.

JACOPO SANNAZARO, FROM THE OPERA LATINA, 1535²

Titian had often heard about Venice from the men in his family who travelled back and forth on government business. Nothing, however, can have prepared a boy of only nine or ten³ who had never seen any city for the one that even today out-dazzles all others. He was met off the boat at the Rialto by an uncle⁴ who had agreed to care for him while he served his apprenticeship. We can imagine a lanky boy, from a cramped house in a small village in the mountains, his provincial clothes creased from the long journey, taking it all in with that disarmingly hawkish gaze: the massive doorways to the Gothic buildings, the towering masts of ships, the women teetering by on their platformed shoes. And we can assume that the uncle was kind to him – it was a close family – and that when Conte was in Venice a year or two later he saw to it that his grandson lacked for nothing.

Venice in 1500 was the wealthiest, most glamorous, most sophisticated, most cosmopolitan, most admired – and most hated – metropolis in Europe, centre of the only empire since ancient Rome to be named after a city rather than a dynasty. After a century of successful conquests on the mainland, or terraferma, the Venetian land empire stretched nearly as far Milan to the west, across Friuli and the Istrian Peninsula, while the sea empire extended as far as Cyprus on the eastern edge of the Mediterranean. Copies of the bell tower in the Piazza San Marco, and images of St Mark, are still to be seen throughout the far-flung Venetian domains. The Venetian arsenal, the greatest industrial complex in the world, pioneered methods of prefabricated construction that, at its peak, could assemble galleys at the rate of one every few hours. The round-bottomed trading ships of the Most Serene Republic sailed to and from ports in the Levant, in the western Mediterranean, and through the straits of Gibraltar to Portugal, England and Flanders.

All commodities that passed through the Adriatic had to pass through Venice: pepper, nutmeg, cinnamon, ginger, sugar; drugs, dyes, pigments; wheat, fortified wines, raisins, dates, oil, meat, caviar, cheeses; slaves as well as falcons, leopards and other exotic animals; wax, linen, leather, wool, raw and finished silk; iron, gold, silver, jewels; precious marbles and antique sculptures. Venetian long-haul trade, according to a late fifteenth-century estimate, brought in on average a 40 per cent return on investment. Since the middle of the fourteenth century the Venetian gold ducat had been the most stable, in value and weight, and most welcome currency in the Mediterranean basin. Imitated all over the world from Europe to India, its appearance remained unchanged until the fall of the Republic; and the treasury of San Marco in the Palazzo dei Camerlenghi at the foot of the Rialto Bridge was so famous that it was a priority for visiting VIPs on sightseeing tours. Venice, floating in its protective ring of shallow water at the head of the Adriatic, was the entrepot of the world.

A French diplomat, Philippe de Commynes, who was in Venice in 1494 as the envoy of the French king, left us with one of the most famous of the many descriptions of the city as Titian first saw it. The worldly Commynes was as amazed as any modern tourist to see ‘so many steeples, so many religious houses, and so much building, and all in the water … it is a strange sight to behold so many great and goodly Churches built in the sea’. He added:

I was conducted through the principal street, which they call the Grand Canal … It is the fairest and best-built street, I think, in the world, and goes quite through the city. The buildings are high and stately, and all of fine stone. The ancient houses are all painted, but the rest that have been built within these hundred years, have their front all of white marble … and are beautified with many great pieces of Porphire and Serpentine … In short, it is the most triumphant City that I ever saw … governed with the greatest wisdom, and serving God with the greatest solemnity.

Although encomiums of great cities were standard Renaissance rhetoric, Venice was the most described and praised of all, not least by its own propagandists. And no Renaissance city was portrayed in such detail or on such an enormous scale as Venice in a map published in 1500, which invites us to explore the streets and waterways of the city that Titian knew as a boy. The map was made by a Venetian painter and printmaker known as Jacopo de’ Barbari, ‘of the barbarians’, a name he seems to have adopted even before he started working for patrons north of the Alps. The publisher of his map, a German merchant by the name of Antonio Kolb, was not exaggerating when he boasted, in his application to the government for permission to print, of ‘the almost unattainable and incredible skill required to make such an accurate drawing’ on this enormous scale, ‘the like of which was never made before … and of the mental subtlety involved’. Printed from six blocks, which are preserved in the Correr Museum in Venice, the de’ Barbari map measures some 2.75 metres by 1.20. It is inevitably used to illustrate books about Venice, and you can buy scaled-down facsimiles in Venetian bookshops. But to enjoy this remarkable portrait of Venice on the eve of the most artistically dynamic period of its history you have to examine it in its original proportions.

The de’ Barbari map of Venice.

De’ Barbari imagined himself floating above the city from a fixed point to the south and several hundred metres into the sky. Nearly every building that could be seen from this perspective is recorded: houses large and small complete with windows, timber roof terraces and conical chimney pots designed to catch sparks from domestic fires; well heads in private courtyards and public campi;⁵ the square bricks that paved some of the larger campi; many churches facing every which way and their bell towers. It is still primarily a Gothic city, although some of the newest buildings have rounded windows, and some brick bridges have already replaced the old wooden fire hazards (although the wooden Rialto Bridge, which had been rebuilt in 1458, was not replaced with the stone bridge until after Titian’s lifetime). Around the perimeters of the city there are orchards, vineyards, long open-sided sheds for drying dyed cloth, and large monastic houses with their herb gardens.

De’ Barbari took special care with the details of the two great preaching churches, the largest in Venice and, as usual in Italian cities, at opposite ends of the city. The Franciscan Santa Maria Gloriosa dei Frari, for which Titian would paint two of his most innovative altarpieces, stands to the west of the Rialto; the Dominican Santi Giovanni e Paolo, where his Death of St Peter Martyr was his most admired and famous work before it was destroyed by fire in the nineteenth century, is on the edge of the north lagoon, with some timber yards just to the east. De’ Barbari even managed to squeeze into his drawing of the campo the equestrian monument to the mercenary soldier Bartolomeo Colleoni and the illusionist façade of the Scuola di San Marco, both completed only a few years before his map was published.

The focal point of the map is of course Piazza San Marco, the religious and political hub of the empire and the only open space in Venice that was and is called a piazza rather than a campo. The bell tower, which had been struck by lightning in 1489, has a flat top in the first edition, but a second state printed in 1514 shows the restored spire. The west end of the piazza is closed by the church of San Geminiano, replaced in the early nineteenth century by the neoclassical Napoleonic wing that now houses the Correr Museum. The clock tower framing the entrance to the Mercerie had been completed just in time for the mid-millennium, but the Procuratie Vecchie, the arcaded terrace that extends along the north side of the piazza, which was let out by the procurators as shops and offices, was rebuilt in a similar style after a fire in 1514. On the south side you can make out the jumbled roofs of the procurators’ old residences and of some hostelries of dubious reputation, which were gradually replaced by the present Procuratie Nuove from the 1540s and not completed until after Titian’s death.

Meanwhile de’ Barbari did his best to dignify the moneychangers’ booths and bakers’ shops and the web of narrow alleys that hemmed in the base of the bell tower. He cleared away from his bowdlerized portrait of the Piazza and the adjoining Piazzetta a notoriously disgusting latrine, the cheese and salami shops on the lagoon side of the old mint, the gambling tables and food stalls between the great granite columns facing the harbour, a stone-cutter’s yard, the stalls of the notaries and barber-surgeons who conducted their business under the portico of the doge’s palace; and the last of the trees and bushes, vestiges of an old monastic garden, which were cut down a few years later to make way for the three bronze flag stands in front of the basilica. Rowing boats and sailing boats of all sizes and shapes make their way up and down the Grand Canal. In the distance, towards Torcello, men in small boats are out fishing or hunting duck. On the outlying islands of Murano and Giudecca you can see the façades of the delizie, summer residences where wealthy Venetians escaped from the heat of the city centre to enjoy themselves on warm evenings. A regatta just disappearing from view on its way to the Lido ruffles the water.

Although you could still find your way around Venice with de’ Barbari’s neat black and white map, his perspective inevitably distorts the scale of some areas of the city. Nor could any map convey the strange beauty, the pungent odours and the sounds – the footsteps, the clip-clop of horses’ hooves and the shouts of merchants and gondoliers – echoing in the narrow streets, that assaulted the senses of new arrivals. The façades of palaces, frescoed in bright colours like stage sets or inlaid with precious marbles, were reflected in canals that served as open sewers – and sometimes for the disposal of human and animal corpses – their stench mixing in the humid air with the fragrant odours of spices in the markets and the musky perfumes of inviting women. The palaces had glazed

Reviews for Titian

[the7ken7petersen · Rating: 5 out of 5 stars]

I love this modern age when books may be ordered over the ether; it means that living in a quiet hamlet, such as Hemsby, does not impede one's ability to read the best literature available. It does, however, have one problem: the books are not always as one imagines them to be.I saw the title, "Titian His Life" and I expected one of those books crammed with good illustrations and half a dozen words. when it arrived, thanks to a postie with a newly acquired hernia, I was amazed. This is a serious piece of historical biography and my first thought was, "Do I, as an interested party, rather than a serious student of the arts, want to read such a hefty biography?"Fortunately, I am a tight wad and, having bought it, I was not about to waste my money: thank goodness for meanness! This is one of the best books that I have had the privilege of reading in many a month. Not only does one get a detailed, but never boring biography of Titian, but also an insight into life in sixteenth century Europe. This book adds to my understanding of both the history of the period and the significance of, not just Titian, but also the other luminaries of the age.I would imagine that this book would be considered essential reading for anyone with even a passing interest in the history of painting, but if that is not you, please do not be put off from undertaking this monster book: it is an effort that will reward all who so do and I would like to thank Sheila Hale for a fortnight of pure pleasure!